Seeking Representation: A View from the Inside

Many photographers are perfectly happy to make pictures for their own enjoyment, or to be shared with family, friends and fellow photographers. Still others are seeking a broader audience for their work, and this often includes having work shown and for sale in a gallery. For those who are interested in seeking gallery representation, I offer a some personal observations and a few tips from a director’s perspective...

I love to look at photographs. As director at Weston Gallery, one would think I would be in the perfect place to pursue my passion. While I certainly am surrounded by great photography every day, the opportunity to see the work of new photographers is severely limited. We receive nearly 500 requests for representation annually and, in a good year, we add one or two artists to our roster. And more often than not, we have an established artist who has been aggressively courting us (or that we are courting) when an opening does occur. With the work load I face on a daily basis, the amount of time I have to review new work is almost non-existent. Thus, I really appreciate an artist who appreciates my situation, and I know most directors will respond more readily to an empathetic suitor.

First, do your homework. Research galleries to find those that are compatible with both your subject/style and your exhibition resume. As implied earlier, a gallery dealing in the masters and upper echelon contemporary photographers is not often going to provide great potential for the “emerging artist.” Additionally, look at the curatorial direction of the venue: Is the space devoted to traditional processes and “straight photography” or does it lean toward cutting-edge imagery utilizing state-of-the-art techniques? If a gallery is showing mostly color computer-manipulated imagery, a black-and-white landscape photographer likely won’t be welcomed with open arms.

When you have identified a well-matched venue, edit your portfolio tightly. If you have different bodies of work, consider carefully whether to present more than one. If you do, make sure they are cohesive unto themselves and compatible with each other.

At Weston Gallery, we don’t do any “walk-in” portfolio reviews; we simply don’t have the time. In some other instances the element of surprise might work well, but don’t be insistent, don’t be insulted if refused, and be prepared for anything in the way of a response… this holds true for scheduled reviews as well.

What often is a best first approach is a letter of introduction along with a resume and samples of work: slides, presentation prints or high-quality digital repros. (For an unsolicited introductory presentation, don’t send anything that you expect to get back without return packaging and prepaid postage or shipping vouchers, and even then, there are no guarantees. I hate having to take the time to return work I didn’t know was coming.) Follow this correspondence with a phone contact after enough time has passed for them to have received and reviewed the material, but not so long that it has been forgotten, misplaced or round-filed. Ten days to two weeks is about right. It is great to be persistent, even modestly aggressive, but know the difference between aggressive and obnoxious!

When you do get the point of an in-person presentation, plan to show work in the size, format and presentation you would supply the gallery for inventory. Even if you may feel your work is self-explanatory, be prepared to discuss your motivations, technique and influences. Have written bios and support materials available. Come with a price structure in mind, but ask for input from the gallery if they indicate interest. (Remember that galleries will take a commission of anywhere from 40 to 60% on each sale, with 50% being the most common.)

If the gallery indicates interest in carrying your work, its your turn to ask questions! Establish that commission structure. Find out whether they offer exhibitions in either a group or solo format, or if they show work salon-style, or both. If it’s salon,  find out if you will receive consistent wall space; if not how often you can expect to be shown. This is VERY important. You can’t expect a buyer to ask to see your work, and though they try, don’t count on the gallery staff to always bring your work out. Will you be represented in their advertising, point-of-sale materials and outside promotions? Will they offer an individual brochure on your work? If not, will they distribute one you provide them, assuming its done to their standards?

If an agreement is reached, an entirely new set of issues arises, to be discussed in some future rambling.  However, a couple of interim notes: Don’t rely on the gallery to do your book-keeping for you. Keep careful records of what you’ve sent them, and make sure you receive a signed consignment memo detailing each piece of work and the terms of your arrangement. Establish inventory reports at regular intervals and ground rules to be kept informed of (and paid for!) sales in a timely fashion. Its in your best interest, not only to avoid problems down the road, but so you might know what is successful at the commercial level and to promptly replace stock for sales of images that work.

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